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1
Gervais, Bertrand, and Audrey Lemieux. Perspectives croisées sur la figure: À la rencontre du lisible et du visible. Québec, Québec: Presses de l'Université du Québec, 2012.
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Naked Barbies, warrior Joes, and other forms of visible gender. Urbana, IL: University of Illinois Press, 2004.
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4
Bagetto, Luca. La figura della parola: Visione e comunicazione nella Fenomenologia dello spirito. Torino: Trauben, 2000.
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Bagetto, Luca. La figura della parola: Visione e comunicazione nella Fenomenologia dello spirito. Torino: Trauben, 2001.
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6
Le illustrazioni in Italia tra Otto e Novecento: Libri a figure, dinamiche culturali e visive. Firenze: L.S. Olschki, 2009.
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Curinga, Luisa, and Marco Rapetti, eds. Skrjabin e il Suono-Luce. Florence: Firenze University Press, 2019. http://dx.doi.org/10.36253/978-88-6453-807-5.
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Skrjabin, figura eccentrica nel panorama musicale di inizio secolo, ha spesso suscitato tanto i più accesi entusiasmi quanto le critiche più feroci. Importanti ricerche effettuate negli ultimi decenni in Italia e all’estero hanno tuttavia condotto a una visione più equilibrata dell’uomo e della sua opera. I contributi ospitati nel presente volume provengono in buona parte dal convegno Svetozvuk, il ‘Suono-Luce’ (Conservatorio Cherubini di Firenze, 2015), e intendono apportare un tassello significativo agli studi skrjabiniani affrontando tematiche diverse e complementari. Lo sfaccettato caleidoscopio che ne risulta mette in luce il ruolo chiave di Skrjabin nel Novecento, non solo in quanto precursore della multimedialità, ma soprattutto come creatore di un linguaggio originalissimo destinato a influenzare generazioni di musicisti di differente formazione.
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Bartoli, Maria Teresa, and Monica Lusoli, eds. Le teorie, le tecniche, i repertori figurativi nella prospettiva d'architettura tra il '400 e il '700. Florence: Firenze University Press, 2015. http://dx.doi.org/10.36253/978-88-6655-884-2.
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La prospettiva dell’età moderna nacque come un ponte gettato tra l’arte e la scienza. Essa dava necessità all’arte e rendeva visibile la scienza; il terreno di coltura fu quello dell’architettura, che da sempre impegnava in sinergia i cultori dell’una e dell’altra. L’ambito di pensiero in cui fu concepita si occupava degli argomenti più alti, l’universo e la terra: a partire dagli astronomi-geografi e dai topografi, si è costruita nel tempo come disciplina e metodo scientifico-artistico, derivando sistematicamente teoremi da teoremi, in un crescendo di complessità, che ha assunto forme talvolta acrobatiche, non aperte all’evidenza. Le tecniche prospettiche sviluppate nel tempo hanno accompagnato le figure dell’architettura e del figurativo nei loro mutamenti. Le attuali tecnologie informatiche ci permettono oggi di studiare i modelli di questo ambito artistico con la fiducia di poter portare alla luce una storia nuova su di esso. Questo volume raccoglie i saggi di 44 ricercatori che, all’interno di un Progetto Nazionale bandito nel 2011, coordinato da Riccardo Migliari di Roma, hanno aderito alla chiamata del gruppo fiorentino, di cui è responsabile Maria Teresa Bartoli, per illustrare il loro metodo di approccio culturale e tecnico al tema attraverso un caso-studio: fosse esso rappresentato da un dipinto o dai passi di un trattato.
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Dolfi, Anna, ed. Stabat mater. Florence: Firenze University Press, 2018. http://dx.doi.org/10.36253/978-88-6453-688-0.
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Lo stabat mater, come pochi altri oggetti della tematologia, vede una stessa postura tradursi in linguaggi diversi, registra il modificarsi e il persistere di una gestualità che dà voce all’inaccettabilità della perdita e alla durata immobile del dolore. Dalle mères en deuil dell’antichità classica al venir meno di Maria ai piedi delle crocifissioni che hanno scandito la storia dell’arte, da Jacopone da Todi, dal Giotto degli Scrovegni ad oggi, rilievi in pietra e in marmo, pannelli lignei, affreschi, vetrate, incisioni, tempere, olii, manoscritti, scrittura, accanto alle note di Palestrina, Vivaldi, Scarlatti, Pergolesi, Boccherini, Rossini…, hanno riproposto la figura della madre dolente. In questo libro si è cercato di registrare le costanze e le alterazioni del topos, sottolineando le differenze che esistono tra espressioni verbali, musicali, visive in relazione al mutamento dei tempi, al rovesciamento del ruolo. Se la narrativa, soprattutto italiana, è presente con Manzoni, Fogazzaro, D’Annunzio, Gadda, Vittorini, Pavese, Dessí, la Morante, Calvino…; la poesia con Gatto, Jaccottet, la Szymborska, la Merini, Yves Bichet…, quanto intriga, in questo complesso volume ideato e curato da Anna Dolfi , è il tentativo di muoversi su terreni quasi di confine, facendo parlare il cinema (Pasolini), l’architettura, facendo interagire la musica con la letteratura e i libretti d’opera, intrecciando colonne sonore con film di successo, dando modelli figurativi alla fotografi a (con gli scatti di Letizia Battaglia). Testi poetici di De Signoribus e Vegliante, per l’occasione ricondotti al tema, sigillano una ricerca che si interroga su modelli e tipologie, mostrando anche l’esistenza di un ulteriore recente rovesciamento, quello, inedito, che vuole che sia la pietas del figlio a posare accanto alla madre.
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Levinson, Marjorie, and Marjorie Levinson. Parsing the Frost. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198810315.003.0009.
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The reading of Coleridge’s “Frost at Midnight” at the center of this chapter opens up the cognitive and aesthetic stakes of seeing writing. It does so by analyzing the encounter with visible script, an experience that can be understood as a reworking of a previously unrecognized source, the scene of writing in David Hume’s A Treatise of Human Nature, Book 4. Just such an encounter is the activity in play with the figure of the window frost and with the entire poem. Broadly speaking, sentence formation is seen as analogous to frost formation. In this way, the discussion seeks to shift the sensory register of criticism of the poem from its traditional emphasis on the acoustic to a new appreciation of the visible.
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Hornby, Louise. Stilling the Subject. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780190661229.003.0003.
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This chapter considers how photography emerges as an incomplete, iterative form of portraiture against an elusive subject. It looks specifically at Marcel Proust’s definition of modernist portraiture in À la Recherche du Temps Perdu as an incomplete, serial form. The narrator turns repeatedly to photographic tropes of portraiture to try to capture an image of Albertine, the woman he loves. She remains unseeable, her opacity constructed both by still photography and by her suspected lesbianism. The chapter traces lesbian sexuality’s resistance in a number of figures and photographs alongside Proust’s novel, incorporating readings of Alfred Stieglitz’s portraits of Georgia O’Keeffe and concluding with modernism’s most inscrutable female figure, Greta Garbo. The point conveyed is not that photography fails to get at its subject (although this is Proust’s complaint), but that photography makes the subject’s inscrutability and opacity visible as such.
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Grandi, Giovanni B. On the Ancestry of Reid’s Inquiry. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198783909.003.0005.
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Reid’s rejection of the “theory of ideas” implies that sensations are not copies of external qualities such as extension and figure. Reid also says that not even the order of sensations is spatial. However, in his early manuscripts Reid did not deny that sensations are arranged spatially. He simply denied that our ideas of extension and figure are copied from any single atomic sensation. Only subsequently did Reid explicitly reject the view that sensations are arranged spatially. The question of the spatiality of color sensation was a central concern of early interpreters of Reid, like Dugald Stewart, John Fearn, and William Hamilton. In particular, John Fearn thought that the denial of the spatiality of color sensations is the result of Reid’s commitment to the immateriality of the soul. Against Reid’s view, Fearn argued that the perception of visible figure necessarily implies the spatiality of color sensations.
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Lievens, Matthias. Carl Schmitt’s Concept of History. Edited by Jens Meierhenrich and Oliver Simons. Oxford University Press, 2014. http://dx.doi.org/10.1093/oxfordhb/9780199916931.013.013.
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In many of his political writings, Carl Schmitt seeks to render conflict and struggle visible and recognizable. He wages a metapolitical struggle against depoliticizing types of spirit and for the political. The meaning of history, as this chapter shows, is a crucial terrain for this metapolitical struggle: friends and enemies are symbolized and rendered (in)visible through historical discourses. The analysis demonstrates that Schmitt strongly rejects representations of history that tend to obfuscate its political nature, such as ideologies of progress or the idea of repetition in history. Instead, he advocates a sober and profane image of history, acknowledging its plural and contingent nature. Paradoxically, a figure of theological provenance, the katechon, is the minimal rest of an eschatological vision that Schmitt considers necessary to keep history and theology apart and to maintain an open and profane understanding of history.
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Similes, Puns and Counterfactuals in Literary Narrative: Visible Figures. Taylor & Francis Group, 2017.
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15
Jacobson, Marion. Advent of the Piano Accordion. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252036750.003.0002.
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This chapter introduces the piano accordion and explains its modern evolution from earlier free-reed instruments. It explores the development of the modern piano accordion through a look at its European roots, then provides a discussion of its evolution as a uniquely American instrument, setting the stage for discussions of the accordion's emerging social capital—its capacity to express social status and power, and what accounted for its increasingly visible role in popular culture. Finally, this chapter sheds light on vaudeville star Guido Deiro's (1886–1951) pioneering role as a popular culture figure and his significant role in cementing a place for the accordion in American musical culture.
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Kennedy, Melanie. Tweenhood. I.B.Tauris & Co Ltd, 2019. http://dx.doi.org/10.5040/9780755699995.
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A powerful female, preadolescent, consumer demographic has emerged in tandem with girls becoming more visible in popular culture since the 1990s. Yet the cultural anxiety that this has caused has received scant academic attention. In Tweenhood, Melanie Kennedy rectifies this and examines mainstream, pre-adolescent girls’ films, television programmes and celebrities from 2004 onwards, including A Cinderella Story, Hannah Montana and Camp Rock. Her book forges a dialogue between post-feminism, film and television, celebrity and most importantly; the figure of the tween. Kennedy examines how these media texts, which are so key to tween culture, address and construct their target audience by helping them to ‘choose’ an appropriately feminine identity. Tweenhood then, she argues, is transient and a discursive construct whose unpacking highlights the deification of celebrity and femininity within its culture.
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Farfan, Penny. “[ T ]his feverish, jealous attachment of Paula’s for Ellean”. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780190679699.003.0002.
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This chapter focuses on Arthur Wing Pinero’s The Second Mrs. Tanqueray (1893) to demonstrate how a seemingly conservative play that met with great success on the fashionable London stage might be regarded as a highly visible if inadvertent instance of queer modernist performance. As a fallen woman, Paula Tanqueray is a version of a conventional cautionary figure of patriarchal heterosexuality. Her redemption, however, depends on the love of a good woman: her husband’s daughter by his deceased first wife. This queer dilemma generates currents of homosocial desire that unsettle the heteronormative plotting and thematics of Pinero’s play as Paula’s passionate obsession with her stepdaughter exceeds not only her attachment to her past and present male partners but also the playwright’s thematic concern with the sexual double standard. The play’s queer subversions in turn invite reconsideration of both its primary audience and its relation to modernism.
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Ophir, Adi, and Ishay Rosen-Zvi. Fragile Particularism, Virtual Universalism. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198744900.003.0003.
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Chapter 2 reconstructs the earliest efforts to stabilize binary relations between Israel and its many others in two quite different groups of late biblical sources—Ezra-Nehemiah and the eschatological prophecies. A real transformation of that triangular structure took place in two very different, but more or less contemporaneous, genres of writing. Ezra-Nehemiah shows clear efforts to generalize otherness and abstract it from the particularities of different nations. Conversely, the universalist vision of the later prophets stops short of eliminating Israel’s basic separateness. But despite their genuine inclusivity, these texts share the main outline of the triangular structure of relations between Israel, its others, and a third, mediating figure introduced most clearly in Ezra-Nehemiah. This group of texts plays a crucial role in our genealogy: they introduce a novel interest in alterity, though they fail to conceptualize it, a failure attested by a series of visible (i.e., legible) rhetorical performative moves.
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Socarides, Alexandra. In Plain Sight. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780198855521.001.0001.
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In Plain Sight explores how the poetry of nineteenth-century American women that was once so visible within American culture could have, with the exception of that by Emily Dickinson, so thoroughly disappeared from literary history. By investigating erasure not merely as something that was done to these women but as the result of the conventions that once made the circulation of their poetry possible in the first place, this book offers the first book-length analysis of the conventions of nineteenth-century American women’s poetry. In doing so, In Plain Sight makes visible a whole field of poetry that has been long forgotten. In order to recover this field instead of its individual women poets, each of the chapters focuses on a specific convention and its participation in the construction of literary history. Taken together they tell the complicated story of nineteenth-century American women’s poetry, tracing the spaces within literary culture where it lived and thrived, the spaces from which its authors were always in the process of vanishing. By inhabiting those spaces, we can see both the conventions that were taken up with such gusto that they made the woman poet a familiar figure to nineteenth-century readers and the specter of obscurity and unreadability that are embedded within them. By reclaiming these conventions as a constitutive part of nineteenth-century American women’s poetry, this book asks readers to take seriously the work these women produced and the role their work might play in remapping American literary history.
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George, Carol V. R., and Kate Bowler. God's Salesman. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190914769.001.0001.
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When Donald Trump was married to his first wife Ivana Zelnícková in 1977, the family minister who officiated the wedding was the preacher and author of The Power of Positive Thinking, Norman Vincent Peale. Perhaps more than any other figure in American public life, Trump has touted Peale’s positive thinking methods to apparently great success. “I never think of the negative,” he said after the opening of Trump Tower in 1983. Peale’s 1952 book, which helped to drive the religious revival of the 1950s, remains a perennial bestseller, and has affected the lives of a vast public in the United States and around the world. This book uses interviews with Peale himself as well as access to his manuscript collection to provide a scholarly account of Peale and his highly visible career. The text explores the evolution of Peale’s message of practical Christianity, the belief that when positive thinking was combined with affirmative prayer, the technique of “imaging,” and purposeful action, the result was a changed life. It was a message with special appeal for many in the post-War middle class struggling to rebuild their lives and have a voice in society. The text examines the formative influences on Peale’s thinking, especially his devout Methodist parents, his early exposure to and then enthusiastic acceptance of Ralph Waldo Emerson and William James, and his almost instinctive attraction to evangelicalism, particularly as it was manifested politically.
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Fojas, Camilla. Migrant Domestics and the Fictions of Imperial Capitalism. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252040924.003.0003.
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Filipino domestic labor occupies the visible geographies of global popular culture and capitalism in ways that demand reckoning. They work in the homes of major figures who represent significant coordinates of the economic crisis of 2008: David Siegel, the time-share king, and Alexandre de Lesseps, the global investment banker specializing in microfinance. The Filipina domestics enable the everyday lives of the Siegels and the de Lesseps, cooking and cleaning, acculturating and nurturing their children. They are moral counterpoints to the profligacy and vacuity of the affluent classes; each has a worldview that is potentially disruptive to the overarching narrative of capitalist accumulation. They are ambivalent figures, representing many things at once, and they are also protagonists in their own alternate story of global capitalism.
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Plomb, Fabrice, and Laura Mellini. La dominaction. Figures ordinaires de l’action sous condition de domination. Éditions Alphil-Presses universitaires suisses, 2018. http://dx.doi.org/10.33055/alphil.03080.
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Eva, une « sans-ami » sur les réseaux sociaux, André, salarié « restructuré » après trente ans passés dans l’industrie chimique, Louis, sans emploi, cherchant à prouver sa « bonne volonté » à l’aide sociale, Nadia, jeune femme infibulée confrontée au système médical suisse… Comment ces personnes vivent-elles ces vies sous contrainte ? Que font-elles face aux dispositifs institutionnels ou aux liens sociaux qui les privent d’une partie de leur liberté d’être ou de faire ce qu’elles souhaitent ? Les situations de domination ordinaire sont peu visibles dans l’espace public suisse. Nos recherches permettent de montrer que, bien loin d’être silencieux et passifs, les « dominés » mettent en place des moyens d’agir originaux. Ainsi en est-il des personnes séropositives usant du secret pour échapper à l’opprobre, des étrangers négociant et détournant les noms dont on les affuble ou encore des femmes dépendantes économiquement gagnant par un travail empathique auprès de leur mari des plages d’autonomie personnelle. Même sous contrainte, ils agissent et s’aménagent des marges de manoeuvre. Ces figures de l’action sous domination ou de dominaction, comme nous les avons appelées, représentent ainsi une énigme aujourd’hui, dans un monde où les formes de pouvoir sont de plus en plus désincarnées et où la distribution de la considération sociale, de la réputation ou de la reconnaissance constitue un enjeu central de nos sociétés.
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McLarney, Ellen Anne. Soft Force. Princeton University Press, 2017. http://dx.doi.org/10.23943/princeton/9780691158488.003.0007.
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This chapter focuses on the work of Heba Raouf Ezzat. Ranked the thirty-ninth most influential Arab on Twitter, with over 100,000 followers, voted one of the hundred most powerful Arab women by ArabianBusiness.com, and elected a Youth Global Leader by the World Economic Forum, Raouf Ezzat has articulated and disseminated her Islamic politics in a global public sphere. Her writings and lectures develop an Islamic theory of women's political participation but simultaneously address other contested questions about women's leadership, women's work, and women's participation in the public sphere. Heba Raouf Ezzat is one of the most visible public figures in the Arab and Islamic world today, a visibility that began with her book on the question of women's political work in Islam, Woman and Political Work.
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Pollard, Tanya. Greek Tragic Women on Shakespearean Stages. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780198793113.001.0001.
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Greek Tragic Women on Shakespearean Stages argues that ancient Greek plays exerted a powerful and uncharted influence on early modern England’s dramatic landscape. Drawing on original research to challenge longstanding assumptions about Greek texts’ invisibility, the book shows not only that the plays were more prominent than we have believed, but that early modern readers and audiences responded powerfully to specific plays and themes. The Greek plays most popular in the period were not male-centered dramas such as Sophocles’ Oedipus, but tragedies by Euripides that focused on raging bereaved mothers and sacrificial virgin daughters, especially Hecuba and Iphigenia. Because tragedy was firmly linked with its Greek origin in the period’s writings, these iconic female figures acquired a privileged status as synecdoches for the tragic theater and its ability to conjure sympathetic emotions in audiences. When Hamlet reflects on the moving power of tragic performance, he turns to the most prominent of these figures: “What’s Hecuba to him, or he to Hecuba/ That he should weep for her?” Through readings of plays by Shakespeare and his contemporary dramatists, this book argues that newly visible Greek plays, identified with the origins of theatrical performance and represented by passionate female figures, challenged early modern writers to reimagine the affective possibilities of tragedy, comedy, and the emerging genre of tragicomedy.
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Lampert, Sara E. Starring Women. University of Illinois Press, 2020. http://dx.doi.org/10.5622/illinois/9780252043352.001.0001.
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Star actresses and dancers were among the most publicly visible, celebrated, and often polarizing female public figures in the early United States. This book examines the careers and celebrity of the women and girls from Europe and America whose fame drove the growth and transformation of theater between 1790 and 1850 from the Atlantic seaboard to the trans-Appalachian West. Starring women introduced new repertoire—melodramas, breeches roles, dance pantomime and ballet—that catalyzed debates about social ownership of American culture, regional and national identity, and women’s place in public life. This book transforms existing understandings of early U.S. theater and culture by examining a broad cohort of understudied figures and argues that women stars were vital to the development of transatlantic and U.S. entertainment, celebrity culture, and gender ideology. Most significantly, starring women lived and performed the tensions and contradictions of changing nineteenth-century gender roles. As this book demonstrates, even while they achieved unprecedented levels of wealth and prominence through the “starring system,” the patriarchal family structures that governed women’s lives and careers conditioned their participation in the industry. The celebrity culture that expanded from the 1820s demanded that starring women conform to new standards of sentimental domestic femininity, even as the structural realities of their lives defied such standards. Starring women were exceptional figures who mapped the margins of a narrowing white middle-class domestic ideal.
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Payne, Andrew. Studying Mathematics for the Sake of the Good. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780198799023.003.0010.
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In this, the final chapter, the focus is on Socrates’ expectation that potential guardians will study mathematics for the purpose of understanding the Form of the Good. Mathematical studies contribute to this end by formulating definitions of mathematical entities that employ the notions of ratio and commensurability. As mathematicians work with visible figures and diagrams to prove their conclusions, they will come to see ratios and commensurability as a central aspect of their field. Definitions that employ the notions of commensurability then become the basis for dialectical inquiry leading to an awareness of the Form of the Good. Mathematical studies are carried on for the sake of understanding the Form of the Good in that they stimulate the formulation of definitions of mathematical entities. These definitions become the raw material for the dialectical understanding of the Form of the Good.
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Kachun, Mitch. Crispus Attucks from the Bicentennial to the Culture Wars, 1970s–1990s. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780199731619.003.0009.
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The 1976 bicentennial brought greater mainstream attention to Attucks and black participation in the Revolution as well as increasing opportunities to disseminate interpretations of Attucks and other African American heroes in schools and through ever-expanding mass media exposure over the subsequent decades. Attucks was becoming a standard figure in most popular American history textbooks and was featured even more visibly in mainstream culture outside the classroom. Of all the competing versions of Attucks circulating at that time, it was the taken-for-granted Revolutionary token that seemed most prominent in the nation’s collective memory; for many, he was a bland symbol of a romanticized American Revolution and an unthreatening black patriotism. By the end of the twentieth century, Attucks had, to a large degree, become a black American hero of the Revolution, though one who was still marginalized within the nation’s story.
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Hamera, Judith. The Labors of Michael Jackson. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780199348589.003.0002.
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Chapter 1 establishes Michael Jackson’s deindustriality, which is too frequently ignored in favor of white artists like John Travolta in Saturday Night Fever or Bruce Springsteen. Jackson is the exemplary transitional subject of the deindustrial; his popularity peaked as manufacturing sector contractions became increasingly visible as national problems. His racial assertiveness and virtuosic dancing marked his own extraordinary social mobility while conjuring an industrial imaginary that was both fictively racially inclusive and apparently in the process of collapsing. Jackson simultaneously incarnated the trope of the human motor—one of the defining figures of industrial modernity—and offered a compelling, cruelly optimistic spectacle of the exceptional individual’s ability to glide away from this collapse with pleasure, precision, and hard work. The chapter also offers a theory of virtuosity as a relational process linking performers to audiences and, in Jackson’s case, accounting for his status as an icon of deindustrial mobility.
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Davies, Carole Boyce. Circulations. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252038020.003.0012.
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This chapter engages some of the political realities of living as a Caribbean person in the United States. It examines the movements of some of the most visibly representative figures largely from the Anglophone Caribbean, from the formative period of black activism leading up to the Black Power period of the 1970s. In pursuing earlier work on Claudia Jones that focused largely on the 1930s—1950s, the author was able to see some patterns emerging in the surrounding intellectuals and activists with whom Jones' work intersected and intersects, that is, the African American activists in the U.S. context and the larger Caribbean and Pan-African and international contexts. Jones' Caribbean left politics addresses the question of how to “remake” inherited political positions for usability in black communities.
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Adelman, Rebecca A. Figuring Violence. Fordham University Press, 2018. http://dx.doi.org/10.5422/fordham/9780823281671.001.0001.
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Figuring Violence catalogs the affects that define the latter stages of the war on terror and the imaginative work that underpins them. These affects—apprehension, affection, admiration, gratitude, pity, and righteous anger—are far more pleasurable and durable than their predecessors. Hence, they are deeply compatible with the ambitions of a state embroiling itself in a perpetual and essentially unwinnable war. Surveying the cultural landscape of this sprawling conflict, Figuring Violence reveals the varied mechanisms by which these affects have been militarized. This book tracks their convergences around six types of beings: civilian children, military children, military spouses, veterans with PTSD and TBI, Guantánamo detainees, and military dogs. All of these groups have become preferred objects of sentiment in wartime public culture, but they also have in common their status as political subjects who are partially or fully unknowable. They become visible to outsiders through a range of mediated and imaginative practices that are ostensibly motivated by concern or compassion. However, these practices actually function to reduce these beings to abstracted figures and so make them easy targets for affective investment. This is a paradoxical and conditional form of recognition that eclipses the actual beings upon whom those figures are patterned, silencing their political subjectivities and obscuring their suffering. As a result, they are erased and rendered hypervisible at once. Figuring Violence demonstrates that this dynamic ultimately propagates the very militarism that begets their victimization.
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Pettitt, Paul. Palaeolithic Western and North Central Europe. Edited by Timothy Insoll. Oxford University Press, 2017. http://dx.doi.org/10.1093/oxfordhb/9780199675616.013.041.
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Since their initial discovery in the nineteenth century, human figurines have formed a noticeable part of the artistic record of the 30,000 years of the European Upper Palaeolithic. Some figurines—particularly the ‘Venuses’ of the Mid-Upper Palaeolithic (Gravettian sensu lato)—have long served as icons of Upper Palaeolithic cultural achievement. This chapter reviews our current understanding of figurines of western and North Central Europe. Their first manifestation is with a few enigmatic examples during the Early Upper Palaeolithic (Aurignacian) of southwest Germany. A far more visible and geographically widespread manifestation comes with the Mid-Upper Palaeolithic Venus figurines, and a similarly widespread occurrence comes with the highly schematic side-profile outlines of the Gönnersdorf type, which belong to the Middle and Late Magdalenian. The history of interpretation and current thinking of these figurine horizons is discussed in this chapter, which should be read in conjunction with Chapter 30 (Farbstein).
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Walker, Greg. John Heywood. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780198851516.001.0001.
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John Heywood: Comedy and Survival in Tudor England offers the first comprehensive study of the long and varied career of the Tudor playwright, poet, musician, performer, humourist, and collector of epigrams, John Heywood (c.1497–1578). It roots his life and work in the context of the profound and often violent religious, political, and cultural changes of the Tudor century that variously provoked, enabled, and restricted the scope of his creativity, and makes the case for Heywood as both one of the sixteenth century’s most fascinating dramatic and literary figures and a revealing lens through which to view the cultural history of the period. It goes beyond the clichés of popular history, beyond Shakespeare and the purpose-built playhouses, beyond the canonical Henrician court poets and writers of the Elizabethan ‘Golden Age’, beyond even the experiences of the century’s chief ministers, intellectuals, and martyrs, to a theatrical and literary world less visible in the conventional sources. It opens a window on a culture in which the actions of monarchs, their councillors, and their victims were witnessed and reflected upon at one remove, but subjected to vigorous, witty, and often audacious criticism and comment.
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Cole, Jean Lee. How the Other Half Laughs. University Press of Mississippi, 2020. http://dx.doi.org/10.14325/mississippi/9781496826527.001.0001.
Full textAbstract:
In the popular press of the early twentieth century, immigrant masses and the tenement districts were frequently portrayed as occasions for laughter rather than as objects of pity or problems to be solved. This distinctly comic sensibility, most visible in the form of the comic strip, merged the grotesque with the urbane and the whimsical with the cynical, representing the world of what Jacob Riis called the “Other Half” with a jaundiced, yet sympathetic, eye. Various forms of the comic sensibility emerged from a competitive, collaborative environment fostered at newspapers and magazines published by figures including William Randolph Hearst, Joseph Pulitzer, and S. S. McClure. Characterized by a breezy, irreverent style and packaged in eye-catching typography, vibrant color, and dynamic page design, the comic sensibility combined the performative aspects of vaudeville and the variety of stage, the verbal improvisations of dialect fiction, and a multivalent approach to caricature that originated in nineteenth-century comic weeklies, such as Puck and Judge. Though it was firmly rooted in ethnic humor, the comic sensibility did not simply denigrate or dehumanize ethnic and racial minorities. Stereotype and caricature was used not just to make fun of the Other Half, but also to engage in pointed sociopolitical critique. Sometimes grotesque, sometimes shocking, at other times sweetly humorous or gently mocking, the comic sensibility ultimately enabled group identification and attracted a huge working-class audience.
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Potter, Susan. Queer Timing. University of Illinois Press, 2019. http://dx.doi.org/10.5622/illinois/9780252042461.001.0001.
Full textAbstract:
This book is a counter-history of the emergence of lesbian sexuality in early cinema. Drawing on the critical insights of queer theory and the history of sexuality, it challenges approaches to lesbian representation, initially by reframing the emergence of lesbian figures in cinema in the late 1920s and early 1930s as only the most visible and belated signs of an array of strategies of sexuality. The emergence of lesbian representation and spectatorship in early cinema is not a linear progression and consolidation but rather arises across multiple sites in dispersed forms that are modern and backward-looking, recursive and anachronistic. In this tumultuous period, new but not always coherent sexual knowledges and categories emerge, even as older modalities of homoeroticism persist. The book articulates some of the discursive and institutional processes by which women’s same-sex desires and identities have been reorganized as impossible, marginal or—perhaps not so surprisingly—central to new forms of cinematic representation and spectatorship. Complicating the critical consensus of feminist film theory and history, the book foregrounds the centrality of women’s same-sex desire to historically distinct cinematic discourses of both homo- and heterosexuality. It articulates across its chapters the emergence of lesbian sexuality—and that of its intimate “other,” heterosexuality—as the effect of diverse discursive operations of early cinema, considered as a complex assemblage of film texts, exhibition practices, modes of female spectatorship, and reception.
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Sugden, Edward. Emergent Worlds. NYU Press, 2018. http://dx.doi.org/10.18574/nyu/9781479899692.001.0001.
Full textAbstract:
Emergent Worlds reframes the modernity of nineteenth-century America by displacing three central critical narratives about the era: the westward spread of imperialism, the redemptionist story of black freedom, and the notion that the United States constituted a new world. It begins by identifying dissonant forms of time that ought not to have existed if these three metanarratives were total: chance on a Pacific whaling vessel, a calm on a Caribbean slave ship, and a near apocalypse on an Atlantic merchant ship. These oceanic times provide a gateway into larger historical and geographical frames. They reveal that nineteenth-century America existed in historical interstices in the world-system: between colonialism and the nation, slavery and freedom, subject and citizen, old world and new. With this historical repositioning, Emergent Worlds makes visible a series of transitional ideologies and figures that emblematize them, such as the queer migrant, the suspended state, and the living dead, which are passed over if the modernity of the era is assumed. Such configurations in turn produced symptomatic forms of consciousness oriented around the perception of time. These four domains—oceanic space, transitional historical position, emergent ideology, and dissonant time—created the conditions of possibility for three previously uncataloged genres of the 1850s: the Pacific elegy, the black counterfactual, and the immigrant gothic. Emergent Worlds thus carries out a generic reclassification that brings together this international mix of canonical and noncanonical books of the 1850s, showing how they internalized and attempted to transcend their own historical conditions of possibility.
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Johnson, Galen A., Mauro Carbone, and Emmanuel de Saint Aubert. Merleau-Ponty's Poetic of the World. Fordham University Press, 2020. http://dx.doi.org/10.5422/fordham/9780823288137.001.0001.
Full textAbstract:
Merleau-Ponty’s Poetics of the World offers detailed studies of the philosopher’s engagements with Proust, Claudel, Claude Simon, André Breton, Mallarmé, Francis Ponge, and more. From Proust, Merleau-Ponty developed his conception of “sensible ideas,” from Claudel, his conjoining of birth and knowledge as “co-naissance,” from Valéry came “implex” or the “animal of words” and the “chiasma of two destinies.” Thus also arise the questions of expression, metaphor, and truth and the meaning of a Merleau-Pontyan poetics. The poetic of Merleau-Ponty is, inseparably, a poetic of the flesh, a poetic of mystery, and a poetic of the visible in its relation to the invisible. This poetics is worked out across each co-author’s chapters in dialogue with Husserl, Walter Benjamin, Heidegger, and Sartre. A new optic proposes the conception of literature as a visual “apparatus” in relation to cinema and screens. Recent transcriptions of Merleau-Ponty’s first two 1953 courses at the Collège de France The Sensible World and the World of Expression and Research on the Literary Usage of Language, as well as the course of 1953–54, The Problem of Speech, lend timeliness, urgency and energy to this project. Our goal is to specify more precisely the delicate nature and properly philosophical function of literary works in Merleau-Ponty’s thought as the literary writer becomes a partner of the phenomenologist. Ultimately, theoretical figures that appear at the threshold between philosophy and literature enable the possibility of a new ontology. What is at stake is the very meaning of philosophy itself and its mode of expression.